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AMES' Series of 

OTDARD AND MINOR DRAMA. 

No. 101. 



THE COMING MAN, 

:LY OMIGLY&L FARCE, 
[JN ONE ACT. 

^Sk35" 



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v v. 



lb 

Henri Y/ilkins, 



WITH CAST OF CHARACTERS, ENTRANCES AND EXITS, RELATIVE 
P0SI ?J^7£° F THE PERFORMERS ON THE STAGE, DE- 
SCRIPTION OF COSTUME, AND THE WHOLE OF 
THE STAGE BUSINESS, AS PERFORM- 
ED AT THE PRINCIPAL AMER- 
ICAN AND ENGLISH 
THEATRES. 






CLYDE, OHIO. 

A. 1) AMES, PUBLISHER, 




| AMES' STA]>»ARI> AMD MINOR DK47IA. 

B> FIFTEEN CENTS PER COPY. 

| 1. .MB. AND MRS. PRINGLE, A comic interlude in one act, 7 male, 4 fe- 

f male characters. A very funny afterpeice. A light plot hinging upon the fact 
f that Mr. Pringle who has a horror of children, marries as he supposes a widow 
of about fifty, without any. The situations as the children appear one by one, 
are very funny. Scene, a drawing room. Time of performance 45 minutes. 

2. A DESPERATE GAME, A comic drama in one act, bv John Madison 
Morton, 3 male 2 female characters. Scenery, simple in-door sets. It is very 
funny and .since its publication has been performed often and with great suc- 
cess. Time of performance 45 minutes. Every company should have it. 

3. THE LADY OF LYONS. Nothing need be said in praise of this play. 
It is by Bulwer, and has 12 male and 2 female characters. A favorite with all 
great players. It abounds in eloquent declamation. Time of playing, 3 hours. 

4. RICHELIEU. A play in 5 acts, by Bulwer. 12 males and 2 females. 
Time in representation, about 3 hours. 

5. WHEN WOMEN WEEP. A comedietta in 1 act, by J. Newton Gotthold. 
3 males, 2 females. It is an old saying that if women will weep, their husbands 
or lovers will grant any favor. This shows how it is done. Scene? parlor. 
Time of perfotmance 30 minutes. 

6. THE STUDIO. An Ethiopean farce in 1 act for 3 males. Very funny. 
Some very amusing experience in artist's studio is given. Just the farce for am- 
atuer minstrels. Easily produced. Time of performance 20 minutes 

7 THE VOW OF THE ORNANI. A drama in 3 acts, by J. Newton Gott- 
hold, i males, 1 female. Capital parts for leading man, two old men, and leading 
lady. VV ill be found a good drama in every respect . ( me hour. 

8. THE BETTER HALF. A comedietta in 1 act, by Thos. J. Williams fi 
male 2 females. Time, present, costumes modern. "Julia" in this play is al- 
ways a favorite character with actresses. We have also a fop, a poutv old fellow 
a husband who is not half as much of a man as his wife, etc. A tiptop play 
Time of performance 50 minutes. * 

9 LADY AUDLEY'S SECRET. A drama in 2 acts bv Wm. E. Suler, (I 
4,9 male 4 females. In addition to being a favorite stock play with the prof, ssion 
Oj it is always in good demand from amatuers. The character of Ladv Audlev is 
(£) one of the best for leading lady. It has leading men, old man, and two first- 
(ij class comedy pails. All who have read the celebrated novel by the same name 
(^ will want the drama. Time of representation 1 hour ana 40 minutes 
& 10. STOCKS LP AND STOCKS DOWN. A dialogue in 1 act, 2 male cliar- 
ty actors Costumes exagerated, evening, and dilapidated, f-cene a street. Ex- 
(f) tremely ridiculous. Time of performance, 10 minutes. 

4> 11. JOHN SMITH A farce in 1 act by W. Hancock, 5 male 3 females. This 
(I) farce must not be confounded with "John Schmidt," as there is no similarity 
<§ this one being much more laughable. The character of "Old John Smith" is 
<£) immensely funny, and will keep an audience in roars of laughter whenever he 
(\ appears. A favorite farce, every character good. Costumes simple. Scenen 
(T, plain room. Time of playing, 40 minutes. 

<© .12. A CAPITAL MATCH. A comic drama in one act, 3 males, 2 females. This 
^ is .me of John Madison Morton's best pieces, is very neat and easily prnducf d. 
^ Ihe scenery is simple, can be played in a parlor if necessary. Time 35 minut< s 
(|) 13 GIVE ME MY WIFE. A farce in one act by Wm. E. Suter 3 male 3 n - 
$) male characters. Easily produced, costumes modern. A dreadful misundlr- 

f ffff $ ng Ti thlS / ar e e which th « name will imply, Order a copy and ou will 
(|, like it. rime ol performance 30 minutes 

"• /■»* BRIGANDS OF CALABRIA. A Mclo-Drama, in one act by 
Wm E. feuter (, male, 1 female character. This is a capital play of the blood- 
and-thund. r description, and abounds with sword combats, pistols etc etc t 



1 



, , *■• "'■"■' " ■"*« »»»"iuni eonmais, pjslols, elc etc It 

also has a good « omedy man, who always is very funny, and very hungry. This 

hJSrfto J^S! 1V! : f A u E \ A V EU,i "l li; '» S ^tch for two characters. Is a 
m '. ■ ii } : -' \ uh wl A h a 1 11 who I ,]il > r *■ Costumes exagerated. This is "Nig- 

| ;.;;; , :{:;;;; in( .;!'';:;;;;^-^--' the hands rf0Wy min ! tro] C011ipany . T > 



The Coming Man. 

.a. :f.a.:r,C-E1 

IN ONE ACT, 

BY 

W. Hsnri Wilkins. 



AUTHOR OF 



Rock Allen , the Orphan ; Three Glasses A Day ; Fun hy the Bush- 
el ; The Reward of Crime; Mother's Fool; 
The Turn of the Tide; 
etc., etc. 



Printed from the Author's approved Copy, with Complete Stage Directions, 
and description of Characters. 



Entered according to Act of Congress, in the year 1870, by 

A. D. Ames, 
In the office of the Librarian of Congress, at Washington. _ 



CLYDE, O: 

A. D. AMES. PUBLISHER. 



THE COMING MAN. 



to 9 <*\* 






CHARACTERS. 

Old Doctor Silvermore A Medical man 

Hank a colored man — always coming 

P. Green an ambitious author 

Mary the Doctor's daughter — in love with P. Greene. 



COSTUMES— Modern. 



TIME OF REPRESENTATION— Thirty minute*. 



TMP92-007486 

PROPERTIES. 

A table, several chairs, secretary, medicine cabinet, letter for Mary, mon- 
ey, bottle labelled "Chloroform," bottle labelled "Cod Liver Oil," bottle of 
■wine and glasses. 



The Coming Man. 



ACT I. 

SCENE FIRST— Dr. Slivermore's office— table, c— chairs, r. and u of ta- 
ble — doors R., l. and c. — secretary r. c. — medicine cabinet l. c, back. 

Enter Mary, r., with letter. 

Mary. Oh, my, I've got a letter ! Nothing so very strange about that, 
after all ; but then this is such a letter. How my heart does flutter, and I 
know my cheeks are red as roses. If papa should see me now, he would 
know that something was the matter, L know he would. Just as if one 
can't have a lover without being so secret about it. My dear Prosey, 
whom I met last summer, at the mountains, has actually proposed, and he 
writes that he's coming up to see me and get his answer. Of course I shall 
say yes, for he's just splendid, and then he writes such beautiful poetry, 
and such charming stories. Now if papa would only be reasonable ; but 
he won't. He perfectly raves, if he sees a young man paying the least at- 
tention to me ; and positively declares that he won't give his consent to 
anybody's marrying me, for at least five years to come. If he should see 
this letter, wouldn't he be in a towering passion, [taking out letter) Oh, 
my ! Prosey's letter was written on Monday, and he writes that he shall be 
up on Wednesday, and that's to day. Oh, my ! how my heart does flutter 
again, (puts hand on heart) What is to be done. If Prosey should see my 
father before he does me, there'd be the dickens to pay. I must manage to 

see him first ; but how am I to do it ? Let me see, I 

Enter Dr. Slivermore, l. 
(aside) Here's papa. Oh, my, how my heart does flutter, again! (puts 
letter unfer cover, tries to get it in pocket, it falls tender table) 

Dr. #.™ Well, well, girl ! what are you doing in here, and what makes 
your face so red ? 

Mary, (agitated) The room is very warm, (aside) Oh, my heart again ! 

Dr. S. I don't think so, if you do, why do you remain? 

Mary, (aside) I'm glad of an excuse to get away, (aloud) I was just 
going for a walk, as you came in. (doing r.) Good bye papa. 

Dr. S. Mary Slivermore, come here. (Mary returns, c.) Didn't you go 
for a walk last night ! 

Mary. Well, what if I did ? I quite frequently do that, (aside) Oh, 
my, it's coming now, I know it is. 

Dr. S. Nothing of the walk in itself; but didn't that John McKenzie go 
with you ? 

Mary. I think he did. (aside — hand on heart) Oh, my ! 

Dr. S. You think he did. I know he did. Girl, such things won't do. 
You know my express commands — do you wish to disobey them ? 

Mary. Of course not ; but I really think you are too bad. Where's the- 
harm, I should like to know? 



THE COMING MAN. 4 

Dr. 8. Girl, you know what such things lead to, and what my orders are. 
First long walks and sweet talks, and then matrimony. I'd like to see the 
man that wanted to marry you. I'd give him a dose that would operate 
powerfully. You can go now. 

Mary, (aside) Then he may as well prepare the dose, for he will see 
him before the day is over. (exit R. 

Dr. S. Now I may as well go down and visit that patient a few moments. 
Ah, what have we here, (p c'cs up letter) Something evidently not intend- 
ed for my eyes. However, as it is open, I'll just take a look, (reads letter 
— stamps cane) By the lord Harry ! I'm just in time. We will see Mr. 
P. G., what kind of a reception you will meet with. Coming to claim his 
"little duck." He'll think he has go" a porcupine, when he gets here. 
Now, who can it be I wonder? 1'e only signs "P. G." (rings bell) I'll 
leave Hank in charge — he is as good as a detective. As the saying is "he's 
slow, hut sure, "and then he uses none of that negro dialect, which I so 
much detest; but he U so terrible slow, that he does try my patience fear- 
lully sometimes, (calls) Hank, Hank, I say ! 

Hank, (outside, l.) I'm comin', I'm comin'. 

Dr. S. Yes he's always coming; but never gets here. Well, one can't 
expect perfection in a servant any more than any thing else, (louder) 1 
I say, are you coming, man. 

Hank, (outside — moderately) Yes, I'm a coming, man. 

Dr. 6\ He will do to live with a doctor ; but he'd never do to go after 
one. 

Enter Hank, l. He has on heavy shoes, and pants much too short; large coat 
of extravaqant cut coming just below the arms, with long slim tails hanging 
nearly to the floor; large battered felt hat. 

Hank, (icith hands in pockets — movements slow as possible) I've got here. 

Dr. S. I see you have, at last. What makes you so slow, Hank ? 

Hank. My mother always told me that I was born slow. Does yer want 
anvthing ? I'm in somethin' of a hurry. 

j$V. S. Of course I want something, or I shouldn't have rung. You're a 
pretty specimen to talk about being in a hurry. Well Hank, I'm going out 
for a short time, and I want you to 'tend the office until 1 return. Should 
a young man come, while I am away, see that he is not allowed to speak to 
my daughter. I expect such a person hereto-day, who Wants her to marry 
him. 

Hank. Well, why don't you let her ? 

Dr. S. That's my affair. You know my mind, now remain here and do 
as you are told. . (exit, r. 

Hank. This is quite a responsible position to jam a fellow into* without 
any warnin'. I don't care who the gal marries, providin' she doesn't mar- 
ry me. (takes letter from table) So the old crocodile's been interruptin' the 
gal's letters. 'Tain't right, old man, 'tain't right. (reads) "My darling 
dove : I grasp the mighty pen, on who-^e point hangs the destinv of nations 
that I may express to you the wealth of affection, which bubbles up from a 
heart, filled witn tenderness and love for you, my little dear. Will you 
consent to link your destiny with mine, and henceforth ehare the honor, 
which the whole world will, ere long, be forced to shower upon your own, 
P; G. P. S. I shall be up on Wednesday, to claim rny little duck, and re- 
ceive my answer from the rosy lips of her, whom I love. Until then adiue, 
my tender chicken. P. G." First he calls her a dove, then a deer, next a 
duck and now he calls her a chicken. Why don't he call her a whole me- 
nagerie, and done with it? He writes as if bis victuals didn't set well. 
(knock) — Come in. 

Enter Prosey Greene, e. 



VH3 COMING MAN. 

P. G. Her home, at last. Ob, cruel fate, 

Why did I noi find her at the garden gate ? 

Sank, {aside) I shouldn't wonder if that man drinks. 

P. G. Bay, oh say, where is my love, 

Wiin her face as fair as the sky above. 

And her heart as pure as the waters beneath, 

Whom I came to crown with a bridal wreath. 

Sank. Well the Doctor's gone out, and I can't pull your bridle teeth. 

P. G. Oh, thou wood en-headed representative of the African race, know 
that I am anxious to fly to the arms of her whom I love. 

Hank. Well, why didn't you say so before ; but the boss has gin strict 
orders agin any such proceedings, so you'd better fly back the way you flew 
in, before the doctor appoints himself a returning board of one, and counts 
you out. 

P. G. Will nothing tempt you to forsake the wrong and espouse the 
right cause ? Here is positive evidence that I am your friend, (shows mon- 
ey) Will you be mine and aid me in the consumation of my whole life's 
happiness? 

Sank, (taking money) That kind of evidence will go farther towards 
convincing this jury than all the lawyer's learning, or poet's nonsense in the 
United States, (puts irtoney in pocket) Now, I'm your huckleberry. 
Heave ahead and be lively, before the old man returns. 

P. G. Undoubtedly you are aware of my mission here ; 
How I left the busy cares of life, 
And came up here to seek a wife. 

Sank. I never could comprehend Mother Goose melodies, so no matter 
about any more of those tender lines j but I am aware of one thing, the 
doctor'll break your head, if he finds you here for any such purpose. 

P. G. Oh, sir, will you see the happiness of two lives crushed to earth 
in their early career of usefulness ? 

Sank. I suppose you are aware that you did not address me by a very ' 
endearing title, when you first lit here. But stop ! I have a plan, which, if 
carried out, will take you out of your little difficulty. There's only one 
thing lacking. 

P. G. Oh, sir, and what is that? 

Sank, (holding out hand) A little more evidence. 

Enter Mary, R. 

Mary. Oh, my adored Prosy. 

P. G. Oh, my angeliterous Mary. (rush into each others arms 

Sank, (surprised) Well, that's a pretty piece of evidence. 

P. G. Sweet one, wilt thou consent to fly with me at once, and escape 
the cruel persecutions of thy tvranical parent? 

Mary. Anywhere with thee, will be paradise to me. 

P. G. Mycolored friend, you were about to say 

Bank, (holding out hand) A little more evidence. 

Mary. Oh, my love, Hank has ever been a friend to me, and he will 
not forsake me now. 

P. G. My surplus funds are at present somewhat limited ; but when my 
great tragedy is completed, I will bestow on you an annuity for life. 

(gives money \ 

Hank. If the evidence is all in, we'll proceed to have you both sentenced v 
for life ; but first, you must do just as I tell you, and get hitched as soon as 
possible. Do you both consent? 

Mary. But my father may return at any time. 

Hank. I'll manage this case. You are not to ask any questions. Do you 
consent? 

Both. Yes, we consent. 

P. G. Come to my heart, my little dove, 

We'll feast on joy, and dream of love. 



6 THE COMING MAN. 

Hank, (aside) What fools. 

Mary. But who is to perform the ceremony ? 

Hank. You, sis, must step across the street, and engage the services of a 
justice. Have him in readiness at once. 

Mary. It's not exactly proper, but it's the only chance. (exit, E. 

P. G. Now my colored benefactor, while the time is passing, that I may 
calm my beating heart, I will read to you the closing lines of the first act 
of my great tragedy, that you may know its author is no common mortal, 
whom you have consented to befriend. (takes manuscript from pocket) 
Young man, are you acquainted with tragedy ? 

Hank. No sir, I have not the honor of his acquaintance. 

P. G, I mean, do you liRe plays? The real blood and thunder kind, 
where somebody gets an end put to his existance. 

Hank. Now I understand. No, I don't like 'em; but if the old man 
catches us here, "we'll be two principle actors in just one of them kind of 
scrapes, (looks r.) And by the mistakes of Moses, he's coming up the 
path now. 

P. G. Oh, what am I to do? Put me somewhere, anywhere, so long as 
I escape his wrath ! 

Hank. Be calm. Be cool. Don't rush. I'm council in dis case, (opens 
door, c.) Kight in here, sir, and don't so much as breath, 'till you hear 

me rap three times on the table, so (raps — pushes him, through door, c 

and closes it — exit, l.) 

Enter Dr. Slivermore, r. 

Dr. S. I thought I told that servant to attend the office 'till I returned. 
It's getting so you can put no dependence in any one. (rings bell) If he 
does not attend to his duties better hereafter, I'll discharge him. When I 
give an order, I expect it will be obeyed, (calls) Hank, where are you ? 

Hank, (outside, h.) I'm coming, I'm coming. 

Dr. S. I declare, he's enough to try the patience of a saint. 

Enter Hank, L. 

Hank. Well doctor. 

Dr. S. How is this, sir ? I leavp you here, with orders to stay 'til I 
come back, and find you out. 

Hank, (aside) Oh, if he should find me out. (aloud) Doctor, the de- 
mands of thirst must be supplied. I must have just passed through the 
door as you came in. (aside) I wonder if that'll go down. 

Dr. S. Well, take my hat and cane and put them in the closet. 

Hank. Yes sir. (puts them in door, c. — in loud whisper to Greene) Keep 
quiet. (returns 

Dr. S. Now I'll take my afternoon nap. Hank, remain outside in read- 
iness, if I should ring, (sits in easy chair, L. — prepares to sleep — Hank goes 
behind L. wing — pause — Hank peeps in — goes behind chair — takes bottle marked 
"Chloroform" from cabinet, l. c. — waves saturated handkerchief over the doc- 
tor's head) I wonder if Mary's beau wil come to-day. How lucky that I 
found the letter. I'll be ready for him. They can't cheat the old man yet. 
How sleepy I am. (goes to sleep — business ad libitum 

Hank. Oh, no, old man, they can't cheat you. I've got good evidence 
of that, (raps on table — Greene looks out) Now, my love-sick friend, it's 
not my fault if you are not "wafted into the realms of joy supernal. Oh, 
my, wasn't that nice? (Greene comes out and exits, r.) Now, I'll put 
things to rights, a bit, and set back the evidence, (puts up bottle) and re- 
main outside, and see if the old man will tell what he dreamed about. Oh, 
no they can't cheat you, old man. (exit, l. 

Dr. S. (awaking) Well, well, I "Wonder how long I have been asleep. 
How peculiar my mouth tastes. It seems to me I detect a faint odor of 
chloroform in the room. Perhaps Hank has been among the chemicals, 



THE COMIKG MAN. 

■while I have been asleep, (turns) There, it's just as I supposed, the blun- 
idering lockhead bhas been fooling with the anesthetics. He's always med- 
dling with aomething that doesn't concern him. Perhaps he had the head- 
ache or something, (calls) Hank! 
Hank, (outside, l.) Hullo, I'm coming. 

Enter Hank, L. 

Dr. S. So you've been at my cabinet again. Next time that you use 
the chloroform, see that you put the stopple in. You might have kept me 
asleep all the afternoon, it the room had been close. Put in the stopple 
and bring me a bottle of wine. I want to change the taste in my mouth. 

Hank, (stops bottle) Yes, doctor. Which will you have, "Claro Obscuro," 
or "Colorado Maduro"? 

Dr. S. First bottle on the right, Stupid, now go. 

Hank, (aside) If the old man don't look out, he'll get floored again. 

(exit, h. 

Dr. S. I wonder where that P. G. is. Don't I wish he'd come in here 
now? 

Enter Rank, L. 

Hank. Shall I remove the cob- webs from the exterior of the bottle? 

Dr. 8. Yes, you fool, and see that you bring the bottle with you, the 
next time you snow your black face here, (exit Hank, l.) Remove the cob- 
webs from the bottle ! I wonder if he thought I was agoing to drink cob- 
webs and wine. I hope Mary won't meet that chap before 1 do. They 
might elope, and what a scandal that would raise. Such gossip as that 
would create, would ruin my practice entirely, (calls) Hank, hurry up ! 

Hank, (outside, l) I'm coming. 

Enter Hank, l. — places bottle marked "Cod Liver OiY," on table. 

There, that will put new spirits into you- 

Dr. S. That isn't wine, that's cod liver oil, you dunce ! 

Hank. I got the first bottle on the right, doctor, I know I did. 

Dr. S. Then take this back and Lring the first on the left. 

Hank, (aside) That nap made the old man rather particular. (exit, L. 

Dr. S. What can the matter be ? Everything seems to go wrong to-day. 
I have been bothered and bothered, and to make matters worse, my stupid 
servant must brirg me a bottle of cod liver oil, in place of a bottle of wine. 
It's no wonder that I get out of patience, (calls) Are you coming ? 

Hank, (outside, l.) Yes, I'm coming. 

Dr. S. Yes, he's the coming man — an interesting specimen, truly. 

Enter Hank, L. puts wine and glass on table. 

Hank. There. 

Dr. S. That's champagne, you fool; but never mind. I may as well 
drink this, as to choke to death trying to make you understand. Will you 
remove the cork ? 

Hank. I will, (pulls cork — contents -fly in his face — steps bottle with hand) 
Doctor, this is the first campaign I ever got hit in. (pours the glass full 

Dr. S. You'll survive, never fear. You're too slow to die sudden, (drinks) 
That's all right. Give me another, (Hank pours another glass) And then 
let the bottle remain here. (drinks 

Hank, (aside) There won't be any sham about the pain in his head, if 
he drinks much more. 



g THE COMING MAN. 

Enter Prosy Greene and Mary, b. 

Dr. S. Do my eyes deceive me, or is it Mary, and a live man with her ? 

Hank. Yes, doctor, live man and live woman— married. 

Dr. S. {.starting to his feet) Married ! 

Mary. Yes, father. Knowing that you would never give your consent, 
and loving each other truly, we adopted the only method left us— to get 
married on the sly. 

P. G. Yes we're married, father dear, 
And without a single Haw ; 
But why don't you now embrace 
Your respected son-in-law? 

Dr. S. I feel like embracing you both with a horse whip. To think I've 
been such a fool : but Hank, you've been a greater fool than I have. 

Hank. Yes, I've heard you say so before. {Doctor drinks another glass — 
aside) I expected he'd get another shot before he got through the cam- 
paign. 

Mary. You know, father, "what can't be cured, must be endured," and 
this is a case beyond your professional skill, you see, and we've come like 
two dutiful children, to ask your forgivness. 

Dr. S. You are a pretty child to prate of duty. To think how I've been 
deceived- 

Hank, {aside) 'Tis kind o' wonderful. 

Dr. S. {continuing) And then to ask me to forgive you. Never ! 

Hank. ( aavancing towards the doctor) I say, boss, you had better forgive 
'em. You're beat, anyhow. 

Dr. S. { feel effects of champagne) Perhaps after all, you are right, Hank. 
I suppose if I did'nt it would only make a bad matter worse. 

Hank. And think, doctor, how it would injure your practice. 

Dr. 6. My own words, again. 

Mary. Father, forgive us, and take us to your heart, and we'll never 
disobev you again. 

P. G. And we will all live in happiness and peace, and pass the remain- 
der of our days beneath the effulgent rays of my great genius, honored, and 
beloved by the whole world. 

Dr.S. Well, let's have peace at any price. Come to my arms, my chil- 
dren, {all embrace at once) That's deuced good champagne. 

Hank, {imitating) Oh, my heart does flutter so. 

P. G. Oh, what joy can now be seen 
On the heart of Prosy Greene ! 
Let me now read to you the prologue of my great tragedy, and afterwards, 
, we'll have a regular jollification, {unrolls manuscript, strikes attitude, 
'■reads) "When in the course of human events it becomes necessary for a 
half-hungry, half- fed, imposed on set of men, to dissolve the bands of land- 
lord and boarder, a decent respect for mankind requires that they should 
.declare the causes which have impelled them to separation. We hold these 
'truths to be self evident: that all men are created with mouths and stom- 
lachs, and they are endowed by their creator, with certain inalienable rights, 
1 among which is : that no man shall be compelled to starve, out of mere 
1 compliance to a landlord, and that every man has a right to fill his stom- 
ach, and wet his whistle with the best that's going." {Hank drinks from 
bottle, b. c. 

' Dr.S. Put down the champagne ! {Hank still drinking and beckoning 
to the doctor to keep away— picture. 



Mary. Peost Greene. Hank. De. Slivermobe. 

CURTAIN. 



AMES' STANDARD AND MINOR DRAMA. 



28. THIRIY-TIIREE NEXT BIRTHDAY. A Farce in one act, by John 
Madison Morton, 4 male, 2 female characters. Scene, outside of hotel, easily 
arranged. Costumes to suit the characters. This farce should be read to be 
appreciated, and is a good one as are all of Madison Morton's plays. The com- 
edy characters are excellent. Time of performance, 35 minutes. 

29. THE P AIMER 01 GHENT. A Play in one act, by Douglass Jerrold, 
5 male, 2 female characters. Scene in Ghent. Costumes of the country and 
period. This is a beautiful play of the tragic order. The character of the "Paint- 
er of Ghent." is one of grandeur and line language. He becomes insane at the 
loss of children, and being a painter, paints their portraits from memory. A 
daughter whom he supposes dead, returns to him, and he recovers. A grand 
pley. Time of performance, 1 hour. 

30. A DA Y WELL SPENT. A Farce in one act, by John Oxenford, 7 male, 

5 female characters. Scenery simple. Costumes, modern. Two clerks in tl.e 
absence of their "boss" conclude to s"hut up shop, and have a spree. They get 
into several scrapes with the females, have numerous hair breadth escapes, and 
have a terrible time generally. Very amusing. Time of performance, 40 
minutes. 

31. A PET OF THE PUBLIC. A Fswce in one act, by Edward Sterling, 

4 male, 2 female characters. Scene, parlor. Costumes, modern. In this farce, 
the lady assumes four distinct characters, either of which is good. For an act- 
ress of versatility, it is a splendid piece, and amatuers can also produce it with- 
out rroubL It can either be used for a principal piece, or an afterpiece. Time 
of perfo'tir ice, 50 minutes. 

32. Ml VIFE'S RELATIONS. A Comedietta, in one act, by Walter Gor- 
don, 4 ma) i female characters. Scene, plain apartments. Costumes, modern. 
A--pleasin». little piece well suited to amatuers, school exhibitions, etc. A fel- 
low marries, her relatives comes to see her, are much more numerous than he has 
an idea of. The denoument is funny. Time of performance, 45 minutes. * 

33. ON THE SLY. A Farce in one act, by John Madison Morton, 3 male, 
2 female characters. Scene, plain apartment. Costumes, modern. Husbands, 
don't never fall in love with your wive's dress makers — never squander your 
money foolishly, never do anything "on the sly," for your wives will be sure to 
find it out. This farce explains it. all. Time of performance 45 minutes. 

34. THE MISTLETOE BOUGH. A Melo Drama in two acts, by Charles 
Somerset, 7 male, 3 female characters. Scene, castle, chamber and wood. Cos- 
tumes, doublets, trunks, etc. A most excellent Melo-Drama. Plenty of blood 
and thunder, with enough jolly, rollicking fun to nicely balance it. A great 
favorite with amatuers. Time of performance 1 hour and 30 minutes. 

35. HO W STOUT YOU RE GETTING. A Farce in one act, by John Mad- 
ison Morton, 5 male, 2 female characters. Costumes, modern. Scene, a plain 
room. This is another of Morton's excellent farces. The comedy characters in 
it are nicely drawn, and it always is a favorite. Easily produced. Time of 
performance, 35 minutes. 

36. THE MILLER OF DERWENT WATER. A Drama in three acts, by 
Edward Fitzball, 5 male, 2 female characters. Costumes, modern. Scenery, 
easily arranged. This is a touching little domestic drama, abounding in fine 
speeches, and appeals to the better feelings of one's nature. The "Miller" is an 
excellent old man. Two comedy characters keep the audience in good humor. 
Time ol performance, 1 hour and 30 minutes. 

37. NOl SO BAD AFTER ALL. A Comedy, in 3 acts, by Wybert Reeve 

6 male, 5 female characters. Costumes, modern. Scenery, simple and easily ar- 
ranged. Every character in this comedy is in itself a leading character, and 
every one very funny. Probably there is not a play in the language in which 
every character is so funny as this. Time of performance, 1 hour 40 minutes. 

38. THE BEWITCHED CLOSET. A Sketch in one act, by Hattie Lena 
Lambla, 5 male, 2 female characters. Scene, Parson Grime's kitchen. Costumes 
modern. A lover goes to see his sweetheart, hides in a closet. Old man a] - 

Eeare on the scene, thinks the closet bewitched. They upset it. Old man is 
•ightened— runs away. Everything right etc. Time of performance, 15 minutes. 

39. A LIFE'S REVENGE. A Drama in 3 acts, by Wm. E. Suter, 7 males 

5 female characters. Costumes, French, period 1GG1. Scenery, palace, garden.*, 
prison. Can be arranged bv amatuers but is a heavy piece. A fine leading mi n. 
heavy man, a glorious comedy, etc. Also leading lady, juvenile lady, comedy 
lady, etc. This drama was a favorite with Harold Forsberg. Time of peri, nu- 
ance, 2 hours and 15 minutes. 



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AMES' STANDARD ANI> MINOR DRAMA, 



40. THAT MYSTERIOUS BUNDLE. A Farce in one act, by Hattie Lena 
Lanibla. 2 male, 2 female characters. Costumes, modern. Scenery, a plain 
room. A Variety peice, yet can be performed by Amatuers, etc. A Mysterious 

bundle figures in this farce, which contains a . Time of performance, 20 

minutes. 

41. WON AT LAST. A Comedy Drama in 3 acts, by Wybert Eeeve, 7 male, 
3 female characters. Costumes modern. Scenery, drawing-room, street and 
office. Every character is good. Jennie Hight starred on the character of "Con- 
stance" in this play. Amatuers can produce it. Time of performance, 1 hour 
45 minutes. 

42. DOMESTIC FELICITY. A Farce in one act, by Hattie Lena Lambla, 1 
male, 1 female character. Costumes modern. Scene, a dining room. The name 
fully describes the piece. Very funny. Time of performance, fifteen minutes. 

43. ARRAH DE BA UGH. A Drama in 5 acts, by F. C. Kinnaman, 7 male, 
5 female characters. Costumes modern. Scenes, exteriors and interiors. A 
most exquisite love story in a play, abounding in scenes of great beauty. The 
depth of woman's love is beautifully shown. Time of performance about two 
hours. 

44. OBEDIENCE, OR TOO MINDFUL BY FAR. A Comedietta in one 
act, by Hattie Lena Lambla, 1 male, 2 female characters. Costumes modern. 
Scenes, plain room and bed room. An old fellow who thinks he is very sick, be- 
comes vely peevish and particular. A plot is formed to break him of his foolish- 
ness. Very amusing. Time of performance twenty minutes. 

45. ROCK ALLEN THE ORPHAN, OR LOST AND FOUND. A Comedy 
Drama in one act, by W. Henri Wilkins, 5 male, 3 female characters. Costumes 
modern. Scenes interiors. Time, during the Rebellion. This play represents 
the real "deown east" characters to perfection. An old man and woman are al- 
ways quarreling, and their difficulties are very amusing. Time of performance, 
one hour and twenty minutes. 

46. MAN AND WIFE. A Drama in five acts, by H. A. Webber, 12 male, 7 
female characters. Costumes modern. Scenery exteriors and interiors. This 
drama is one of intense interest and is a faithful dramatization of Wilkie Collins' 
story of the same name. This is said by competant critics to be the best dram- 
atization published, and it should be in the hands of every dramatic company 
in the country. It has become a great favorite. 

47. IN THE WRONG BOX. An Ethiopean Farce in one act, by M. A. D. 
CJifton, 3 male characters. Costumes, peddler's and darkey's dilapidated dress. 
Scene, a wood. Characters represented, a darkey, an Irishman and a Yankee. 
Time of performance twenty minutes. 

48. SCHNAPPS. A Dutch Farce in one act, M. A. D. Clifton, 1 male, 1 fe- 
male character. Costumes, burlesque German. Scene, a plain room. A neat 
little piece for two Dutch players, introducing songs and dances. Time of per- 
formance, 15 to 30 minutes, at the pleasure of the performers. 

49. DER TWO SURPRISES. A Dutch Farce in one act, by M. A. D. Clifton, 

I male, 1 female character. Costumes, peasant's, and old man's and old woman's 
dress. Scene, a kitchen. A very neat little sketch, introducing songs and 
dances. Time of performance, about twenty minutes. 

50. HAMLET. A Tragedy in five acts, by Shakespeare, 15 male, 3 female 
characters. Probably no other play by the immortal Shakespeare is produced 
as frequently as this one. It needs no description. Time of performance about 
two hours and thirty minutes. 

51. RESCUED. A Temperance Drama in two acts, by Clayton H. Gilbert, 5 
male, 3 female characters. This play visibly depicts the dangerous consequen- 
ces of falling into bad company, the follies of the intoxicating bowl, and shows 
that even the pure love of a noble girl will be sacrificed to the accursed appetite. 
The solemn scenes are balanced by the funny portions, and all in all the play 
is a grand success. Costumes modern. Scenes, interiors some neatly and some 
handsomely furnished. Time of performance one hour. 

52. HENR Y GRANDEN. A Drama in three acts, by Frank Lester Bingham, 

II male, 8 female characters. This drama is sensational in a high degree, 
abounding in thrilling scenes among the Indians, hair breadth escapes, etc. It 
should be purchased by every dramatic company that wish something to suit the 
public. Costumes not hard to arrange. Time of performance two hours. 



Q 
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AMES' STAI\1>AUI> ANE> IHIXOK B>RAUIA. 

53. OUT IN THE STREETS. A Temperance Drama in three acts, by S. N. 
Cook, 6 male, 4 female characters. "Wherever this drama has been produced it 
has been received with the greatest enthusiasm. Listeners have been melted to 
tears at the troubles of Mrs. Bradford, and in the next scene been convulsed 
with laughter at the drolleries of North Carolina Pete. Costumes modem. 
Scenes, interiors. Time of performance, about one hour. 

54. THE TWO T. J's. A Farce in one act, by Martin Bceeher, 4 male, 2 fe- 
male characters. Costumes of the day ; scene an ordinary room. This is a cap- 
ital farce aud has two male characters excellent for light and low comedians. 
Good parts also for old and young lady. Time of performance thirty minutes. 

55. SOMEBODY S NOBODY. A Farce in one act and one scene, by C. A. 
Maltby, 3 male, 2 female characters. Scene, interior. Easily arranged 'ft any 
parlor or hall, as it can be produced without scenery. Costumes modern with 
the exception of Dick Mizzle's which is hostler's and afterwards extravagant 
fashionable. This most laughable farce was first produced at the Drury Lane 
Theater, London, where it had a run of one hundred and fifty consecutive 
nights. It is all comic, and has excellent parts for old man, walking gent, low 
comedy, walking lady and chambermaid. Time of performance, 30 minutes. 

56. WOOING TINDER DIFFICULTIES. A Farce in one act and one scene, 
by John T. Douglass, 4 male, 3 female characters. Scene, handsomely furnished 
apartment. Costumes of the day. Probably no poor fellow ever wooed under 
more distressing difficulties than the one in this farce. It all comes about 
through a serious misunderstanding. A crusty old man, and a quarrelsome and 
very important servant go to make the farce extremely funny. Time of per- 
formance thirty minutes. 

57. PADDY MILES' BOY. An Irish Farce in one act, by James Pilgrim, 5 
male, 2 female characters. Scenes, exteriors and interiors. Costumes eccentric, 
and Irish for Paddy. Probably there is not an Irish farce published so often 
presented as this one, but it is always a favorite and is always received with 
great applause. Time of performance 35 minutes. 

58. WRECKED. A Temperance play in two acts, by A. D. Ames, 9 male, 3 fe- 
male characters. Scenes, drawing room, saloon, street and j ail. Costumes mod- 
ern. The lessons learned in this drama are most excellent. The language is 
pure, containing nothing to offend the most refined ear. From the comfortable 
home and pleasant fireside, it follows the downward course of the drunkard to 
the end. All this is followed by counterfeiting, the death of the faithful wife 
caused by a blow from the hand of a drunken husband, and finally the death of 
the drunkard in the madhouse. Time of performance about one hour. 

59. SAVED. A Temperance Sketch in two acts, by Edwin Tardy, 2 male, 3 
female characters. Scenes, street and plain room. Nicely adapted to amatuers, 
Time of performance twenty minutes. * 

GO. DRIVEN TO THE WALL, OR TRUE TO THE LAST. A Play in four 
acts, by A. D. Ames. 10 male and 3 female characters. For beauty of dialogue, 
startling situations, depths of feeling, there is none on the American Stage supe- 
rior to this one. The plot is an exceedingly deep one, and the interest begins 
with the first speech, and does not for a moment cease until the curtain falls on 
the last scene of the last act. The cast is small and the costumes easily arranged. 
It can be played on any stage. It has parts for Leading Emotional Lady, Juve- 
nile Lady, Leading Man, Villain, Character Old Man. First Old Man, Comedy, etc. 

61. NOT AS DEAF AS HE SEEMS. An Ethiopean Farce in one act. 2 
male characters. Scene, a plain room. Costumes exaggerated and comic. Ex- 
tremely ridiculous and funny. Time of performance 15 minutes. 

62. TEN NIGHTS IN A BAR-ROOM. A Temperance Play in five acts, by 
Wm. W.Pratt, from T. S. Arther's novel of the same name— 7 male, 3 female 
characters. This edition is rewritten, containing many new points, and is the 
best ever presented to the public. Nothing need be said in its praise, as it is too 
well known. It is often played, and always successfully. Time of performance 
about two hours. 

63. THREE GLASSES A DA Y, Or, The Broken Home. A grand Moral and 
Temperance Drama, in twoacts, bv W. Henri Wilkins, 4 male, 2 female charact- 
ers. Costumes modern. Scenes, 'interiors. First-class characters for Leading 
Man, Villain, a genuine down-east Yankee, which is also very funny ; also Lead- 
ing Lady, and a tip-dop Comedy Lady. If a company wishes something with an 
excellent moral, at the same time running over with genuine humor, buy this. 
Time of performance about one hour and thirty minutes. 



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«' AMES' STANDARD &I\1> UIIHOK DRAMA. 

$ 64. THAT BOY SAN. An Ethiopoan Farce in one act, by F. L. Cutler. 3 
J) male, 1 female character. Scene, a plain room and common furniture. Cos- 
j^ tumos, comic, to suit the characters. Yery funny, and effectually gives the 
n troubles of a "colored gal" in trying to have a beau, and the pianksof "that boy 
h Sam." Time of performance twenty minutes. 

D 65. AN UNWELCOME BETLEN. A Comic Interlude, in one act, by Geo. 
h A. Munson. 3 male, 1 female character. Scene, a dining room. Costumes. 
5 modern. Companies will find this a very amusing piece, two negroes being very 
h funny — enough so to keep an audience iu the best of humor. Time of perform- 
P a nce, twenty miuutes. 

b 66. HANS, THE DUTCH J. P. A Dutch Farce in one act, by F. L. Cutler, 
3 male, 1 female character. An exceedingly funny piece. Hans figures as a 
Justice in the absence of his master, and his exploits are extremely ludricous. 
Costumes modern. Scene, plain room. Time of performance, twenty minutes. 

67. THE FALSE FRIEND. A Drama in two acts, by Geo. S. Vautrot. 6 
male, 1 female character. Simple scenery and costumes. First class characters 
for leading man, old man, villain, a rollicking Irishman, etc. also a good lead- 
ing lady. This drama is one of thrilling interest, and dramatic companies will 
invariably be pleased with it. Time of performance, one hour and forty-five 
minutes. 

68. THE SHAM PROFESSOR. A Farce in one act, by F. L. Cutler. 4 male 
characters. This intensely funny afterpiece can be produced by any company. 
The characters are all first class, and the "colored individual" is especially fun- 
ny. Scene, a plain room. Costumes, simple. Time of performance, about 
twenty minutes. 

69. MOTHER'S FOOL. A Farce in one act, by W. Henri Wilkins. 6 male, 
1 female character. Like all of Mr. Wilkins' plays, this is first class. The 
characters are all well drawn, it is very amusing, and proves an immense suc- 
cess wherever produced. Scene, a simple room. Costumes modern. Time of 
performance, thirty minutes. 

70. WHICH WILL HE MARRY. A Farce in one act, by Thomas Egerton 
Wilks. 2 male, 8 female characters. Scene, a street. Costumes modern. Easi- 
ly arranged on any stage. A barber hears that one of eight women has fallen 
heir to some money, not knowing which, he makes love to them all. This, to- 
gether with the revenge the females have upon him, will prove laughable enough 
to suit any one. Time of representation, thirty minutes. 

71. THE REWARD OF CRIME, OR THE LOVE OF GOLD. A Drama of 
Vermont, in two acts, by W. Henri Wilkins. 5 male, 3 female characters. A 
drama from the pen of this authoi is sufficient guarantee of its excellence. 
Characters for old man, 1st and 2d heavy men, juvenile. A splendid Yankee, 
lively enough to suit any one. Old woman, juvenile woman, and corned v. 
Coftumes modern. Scene, plain rooms and street. Time of performance, one 
hour and thirty minutes. Easily placed upon the stage, and a great favorite 
with amatuers. 

72. THE DEUCE IS IN HIM. A Farce in one act, by R. J. Raymond. 5 
male, 1 female character. Scene, a plain room. Costumes modern. This farce 
is easily arranged, and can be produced on any stage, in fact, in a parlor. The 
pranks of the doctor's boy will keep an audience in roars of laughter, every line 
being full of fun. Time of performance, thirty minutes. Order this, and you 
will be pleased. 

73. AT LAST. A Temperance Drama in three acts, by G. S. Vautrot. 7 male 
1 female character. This is one of the most effective temperance plays ever pub- 
lished. Good characters for leading man, 1st and 2d villain, a detective, old 
man, a Yankee, and a capital negro, also leading lady. The temptations of city 
life are faithfully depicted, the effects of gambling, strong drink, etc. Every 
company that orders it will produce it. Costumes modern. Scene, Mobile, 
Time of performance, one hour and thirty minutes. 

74. HOW TO TAME YOUR MOTHER-IN-LAW. A Farce in one act, by 
Henry J. Byron. 4 male, 2 female characters. Scene, parlor, supposed to be in 
the rear of a grocers shop. Costumes modern. Whiffles the proprietor of the 
grocery, has a mother-in-law who is always interfering with his business Vari- 
ous expedients are resorted to to cure her— a mutual friend is called in who by 
the aid of various disguises frightens the old lady nearly to death, firm l v Whif- 
fles gets on a "ge-lorious drunk," and at last triumphs. A perfect "success. 
Time of performance, thirty-five minutes. 



^03'0Qr3Q'0O®Qt}Q ( 0Q'3Q'0Q' d& 



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A&IKS' STANDARD ATJO Hl^OR l>IS VII A. ( '> 

O 

16. 77/77 SERF. A Tragedy, in five acts, by R. Talbot Esq.. 6 males, 3 fc- ^ 

(rood parts for 1st and 2nd Tragedian, and Tragic lady. The r) 

character of Ossip is very powerfully drawn. The history of his early love— of ^ 

his marriage— the indignities he is made to suffer, and the death of his wife, is ){ 

highly wrought; and Ins sarcastic levity and deep revenge are unfolded with a $ 

terrible earnestness. Scene, apartments in castle. Time about 2 hours and a half. I 

J) 17. HINTS ON ELOCUTION AND HOW TO BECOME AX ACTOR. This $ 

(fj) valuable work has just been publishedyjand. contains valuable instructions that ) \ 

/,l) amateur actors, ami every one that ever expect to make a favorable appearance ^ ■. 

(K in public, cannot do without it. It teaches you how to become a good and ef- [ 

/k ficiont leader, reciter, debater, a good actor, how to hold an audience silent, and 

>K treats on every subject that is necessary to be acquired in order to become a (( < 

^ good and pleasing actor. 

& 18. THE POACHER'S DOOM. A Drama in 3 acts, curtailed and arranged \\ 

!j, by A. D. Ames, s male, and 3 female characters. A thrilling drama, always a r 

%. favorite. Leading man, viliian, two comedies, old man, loading lady, comedy W 

^ la iy, etc. Costumes modern. The situations in this play, are most excellent. 

^r Time of performance, 1 hour and a half . "3 

^ 19. DID I DREAM IT? A Farce in one act by J. P. Wooler. 4 male, 3 fe- \\ 

>t male characters. ."Scene, drawing room. The question "Did I Dream it" is what *■ '. 

ty tne farce is founded upon. Very strange things happen, and a nice little love w 

scrape helps to color the plot. A good piece. Costumes simple. Time of p ir- 

W for. nance 45 minutes. Cl) 

jf j 2 ). A TICKET OF LEA VE. A Farce in one act, by Watts Phillips, 3 mal •, ty 

v 2 female characters. A play written by this author is sufficient guarantee of K . ]) 

( 1 ; its excellence. Scene, a sitting room, plain furniture. Costumes modern. Time -) 

of performance, :>j minutes. This is an excellent farce. (3 

} 21. A ROMANTIC ATTACHMENT. A Comedietta in one act, by Arthur 

T> Wood, 3 male, 3 female characters. A most excellent little play, well adapted 

vj J for school exhibitions, lodges, amatuers, etc. The scenery is simple, being a *) 

Qi) plain room, is always a favorite with every company which plays it. Time of (J 

'V performance, 35 minutes. k) 

^ 22. CAPTAIN SMITH. A Farce in one act, by E. Berrie, 3 male, 3 female (V 

l V characters. This excellent little farce is equally well adapted for school exhi- ij) 

(y) bitions, etc., as No. 21. The dialogue is sparkling, not a dull speech from be- 

■I 1 -inning to end. The plot simple, the pieco easily performed. S.'ene, a plain 

([} room. Costumes modern. Time of performance, 30 minutes. 

J SB. MY HEARTS IN THE HIGHLANDS. A Farce in one act, by Wil- 

ty Ham Brough and Andrew llalliday, 4 male, 3 female characters. Scene, ex te- (J> 

k V rior of house in the Highlands. Costumes, simple Highland. This farce is eas- <tt) 

(j> ily produced and very effective is full of fun, caused by t lie mishaps of twochar- (Vi 

A) actors, who go from the city to the country, and do not know a pig from a roc- () 

ty bock, nor a turkey from an" ostrich. Time of performance, 25 minutes. ty 

(V 2 1. HANDY ANDY. An Ethiopean Farce in one act, 2 male characters. 

4) See le, a kitchen. Costumes, exagerated and comic. The difficulties in procu- J 1 

(<i) ring a good and suitable servant are most ludicrously set forth in this farce. I 

(fe) Time of performance, 20 minutes. (£ 

V<f> 25. SPORT WITH A SPORTSMAN. An Ethiopean Farce, in one act, 2 (1) 

(|j) male characters. Costumes, exagerated sportsman's dress, and boyish dress [o 

th Scene, a wood. Time of representation, 20 miuutes. A tip top negro farce. (if; 

<$) 20. THE ULSTER OF THE ALPS. A Drama in one act, by William T>> 

kV Diinond, 9 male. 4 female characters. Scene in-door and forest. Costumes, << ) 

(fe) Swiss. Rosalvi, the hunter of the Alps leaves his home to procure provisions to (J) 

(l) keep his wife and children from starving, meets Felix, a lord, and d inlands, (il) 

(E) and finally implores of him money. Felix moved with compassion gives him rj 

(T) money and goes with him to his hut, and there discovers they are broth-jrs. / ; 

ct) There is some line comedy in it. The story is beautifully told. Time of per- J, 

(ip formance I hour. ^ 

(b) 27. FETTER LANE TO GRAVESEND. An Ethiopean Farce m one act, (f. 

(¥) 2 male characters. Scene, plain room. Costume, exagerated and comic. The (rl; 

(jj) two characters, Ike and Hystericks are very funny, and will keep an audiew j 

,n iu roars of laughter. Short, easily produced, and a tip top farce. Time of per- . 

As formance 15 minuter. j 



I 



A. D. AMES, PUBLISHB 

OUR B If SLY ESS- WH£ 



LIBRARY OF CONGRESS 

PH.. 

015 793 019 9 • 



PLATS. We sell everything in the line of dramas and farces, and call 
tho attention of our numerous patrons to our own list. We think it em- 
braces play which will suit either professional or amateur companies. If 
however you need something, published elsewhere, do not hesitate to send 
us your orders — our stock is very large, awd we fill promptly.— Stocks of 
every publisher on hand. 

LETTERS OF INQUIRY answered promptly, and we solicit correspond- 
ence. If the business upon which you write concerns you alone, enclose a 
3 cent stain]) for reply. Amateurs who are puzzled upon any questions 
relative to the stage will be answered explicitly, and to the best of our abil- 
ity. 

MANUSCRIPT PLAYS. Parties who have Mss. to dispose of should 
write to us. We will publish whatever may be meritorious, on terms which 
will be satisfactory. 

SHEET MUSIC. Orders for sheet music, or music books will he re- 
ceived and filled as promptly as possible. 

CATAL OGrVES will be sent free to any address. Send a postal card, 
with your address, and the catalogue will be sent by the next mail. 

HOW TO ORDER. It would perhaps seem to every one that any di- 
rections as to 'how to order' plays was entirely superfluous ; but not so. 
We have many instances, and remember to have been severely censured by 
parties, some cf whom failed to sign their name to their order, or failed to 
write the state, etc. In tin- first place, begin your order with the name of 
your post office, county and state, if you order from our list, it is not nec- 
essary to designate, only by giving the name of the play; but if from the 
lists of other publishers, state the publishers name, if you know it. Do 
not write your letters of inquiry on the same sheet with your orders, and 
make the order alicaysa® brief as possible. When completed do not fail to 
sign your name vt ry plainly.. Attention to these rules will insure the filling 
of your orders, by return mail. Postage stamps of the denomination of 1, 
2 and :'> cents, will be taken in any amount less than S3.00. 

PLAYS TO SUIT C'OMPANIES. Amateur companies frequently hare 
trouble in procuring Plays well adapted to their wants, frequently ordering 
perhaps five dollar's worth in single copies, before anything suitable can 
be found. All this can be done away with. Our catalogue embraces [days 
suitable for any and all companies, andif our friends will write to us, state- 
ing the requirements oi their companies, there need lie no trouble, in this 
line ill least, if a temperance society wants plays, we have something for 
them. If a company wants something which is very funny, we can suit 
them, in fact, we have dramas, farces, tragedies and comedies which will 
snii you. Enclose 15 cents per copy, for as many copies as you may need, 
ami we guarantee to suit, you, if you will state the size of your company, 
ami wheth v best adopted to the serious or funny. Give us a trial at least. 

MA GNESIUM TABLEA U LIGHTS. There is scarcely a person who 
has not been annoyed by the smoking of colored fires, which are so often 
used on tableaux, and whole scenes in dramas have been ruined by the 
coughing and noise always attendant on their use. We earnestly recom- 
mend the use of the Magnesium lights. They can be ignited with a common 
match, and burn with wonderful brilliancy. There is no danger in their use; 
they make no smoke and are cheap. Price, 25 cents each, by mail, post 
paid. Those who do not km>w how to burn them, will be instructed by 
addressing the publisher. 



